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Julie West Solicitor pleased to support Leatherhead's lunchtime concerts |
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Peter Horsfield, poet
Surrey poet Peter Horsfield is a regular member of the Music on Thursdays and Wednesdays at Christ Church audiences, and Chair of the Leatherhead Concert & Arts Society.
On occasion a concert inspires Peter to pen a work, and a particular poetic form will suggest itself as the most appropriate to the experience. On this page you will find a collection of those works, with brief details of the concerts and the artistes who were performing.
Peter is a retired biologist who worked for the Veterinary Laboratories Agency in recent years. He has lived in Fetcham since 1989. A musician from an early age, he sings with Leatherhead Choral Society. He also enjoys writing music, and shortly before retiring in 2008 began to write poetry. This was a complete surprise, and was triggered by a meditation tour to Sedona, USA, organised by the Korean holistic yoga group he attends. He has since written over 400 poems, on a wide variety of subjects, and in a number of different structures and forms.
A qualified spiritual healer, Peter is interested in sound healing, especially gongs, which have inspired another specialist set of poems. His hobbies include oil painting, and he is a keen cyclist.
On occasion a concert inspires Peter to pen a work, and a particular poetic form will suggest itself as the most appropriate to the experience. On this page you will find a collection of those works, with brief details of the concerts and the artistes who were performing.
Peter is a retired biologist who worked for the Veterinary Laboratories Agency in recent years. He has lived in Fetcham since 1989. A musician from an early age, he sings with Leatherhead Choral Society. He also enjoys writing music, and shortly before retiring in 2008 began to write poetry. This was a complete surprise, and was triggered by a meditation tour to Sedona, USA, organised by the Korean holistic yoga group he attends. He has since written over 400 poems, on a wide variety of subjects, and in a number of different structures and forms.
A qualified spiritual healer, Peter is interested in sound healing, especially gongs, which have inspired another specialist set of poems. His hobbies include oil painting, and he is a keen cyclist.
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Flugelhorn Power
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Three flugels find a special festive sound,
enhance three-fold, with tone so smooth and round, the Silver Band of great Mole Valley fame, blend harmony in subtly-balanced frame of cornets, tubas and euphonium, trombone and tenor equilibrium. The shoppers come and go in Leatherhead Swan Centre, hear our carols – Santa’s sled in their mind’s eye drifts over snowy waste, captures the vibrant brass we play with grace. The tinsel-circled bucket fills with coins and rattles heavily – that they enjoy our music-making, near us lingering, is evident; their body language sings. Soon puddles underfoot accumulate; warm breath through frosty metal resonates the silky notes distinctive. Embouchure displays the stamina required, ensures, despite the numbing lips, that power prevails through this prolonged performance; still entails emotion, captured through dynamic range, communicates a vital interchange. And so, this trinity of Flugelhorn flies high, proclaims the Christmas message born. Peter Horsfield 22/12/2018 |
Inspired by playing carols on flugelhorn with the Mole Valley Silver Band in the Swan Centre, Leatherhead, December 2018
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Celebrating the Piano
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she plays Debussy tumultuous toccata now slow, quiet, and deep emotional The Submerged Cathedral pianissimo enchanting journey rippling semiquavers contrast profound calm little dots master of the miniature listening spontaneous lecture enhances music background full instrument range art and nature vivid imagery integration relaxed confidence nuanced body language smiles of joy Peter Horsfield 7/7/2018 |
Inspired by the lunchtime piano concert performed at Leatherhead Methodist Church on 5th July 2018 by Emilie Capulet
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French horns in quadruplicate – they change positions, move around; with intonation delicate they blend, expand full-blooded sound. Rich, harmonious mix of styles, and octaves of astounding range, from deepest bass to piercing heights, enhance their roundness, hold the stage. Individual parts unique, with instruments identical, explore the repertoire. They breathe as one, with piquancy vital. Syncopated hornpipe notes begin the concert melody – familiar nautical emotes from Lowell “Spike” Shaw’s Fripperies. Movements, five, from Koetsier, A Nightingale in Berkeley Square, three quartets penned by Tcherepnin; fill range of colours textured there. Peter Maxwell Davies theme, adapted Farewell to Stromness, gives contemplative Celtic feel of seascapes, sheltered harbour blessed. A Song for Japan, poignant, slow, with resonance reverberates, embellished triplets guide the flow the simple melody relates. Fourfold French horns move around between each item; ensemble of youthful players’ special sound entrance in manner Capital. Peter Horsfield 24/5/2018 |
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 24th May 2018 by Capital Horns: Josh Bartram, Timothy Doyle, Elliott Howley, & Stephen Payne
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Strange Duet
She starts alarm clock with panache: little electronic timer – dee-dee-dee-DEE dee-dee-dee-DEE, insistently and incessantly, such that one wants to stamp on it, to shut it up immediately, this disturbing rude imposter which intrudes on peaceful slumber. Now comes the clever bit: taking piccolo to her lips, a mischievous glint in her eye, she blends these shrill percussive sounds, at first in low and mournful space, then climbing by octaves, one and two. The syncopations, split with rests, allow the timer to pierce through, still incessant, but tempered by the music’s overlay, which relentlessly gathers pace. At last she silences the timer, with deft flourish. This fleeting piece paradoxically seems to have lasted for ever. Briefly, she proceeds alone, ascending rapidly – assails the ears with one last screeching staccato spit. Peter Horsfield 28/4/2018 Inspired by the lunchtime performance of Wake Up! For piccolo and alarm clock, by Tilmann Dehnhard, played by Anna Hofmann, at Leatherhead Methodist Church on 26th April 2018
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The Long and the Short (Haibun)
Soorjo Alexander William Langobard Oliphant Chuckerbutty – surely the longest named composer in musical history. This organist of Anglo-Indian descent, little-known except for his Song of Triumph (Fanfare), successfully pursued simultaneous careers in cinema and church music.
This piece of music lasts for just three minutes. The key of B flat expresses jubilation, to be replaced by a short, slower section in pensive G minor, before re-asserting the dominant, soaring mood.
Peter Horsfield 28/3/2018
Inspired by the lunchtime organ recital given by Graham Thorpe at Christ Church United Reformed Church, Leatherhead, on 14th March 2018. |
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Praeludium Tertium
Carlmann Kolb, a German priest, eighteenth century organist, name unknown amongst the greats, given voice, today is placed – early classical style of Bach (not J.S., but C.P.E.) Christ Church, Leatherhead, lunchtime, plays harmonies that blend and lead flowing gentle melodies, calm, predictable, and sweet. Suddenly, a cataclysm renders building’s fabric harsh, violently vibrates in stark discords; manic diminished sevenths crash chromatic resonance, charge the ears unbearably – chaos cascades from finger tips. Could a bottle of wine be spilt? Knocked right over in clumsy tilt – music score affected by Carlmann’s inebriated high. Mental suffering, perhaps, reveals an unexpected lapse. Out of character music goes; just why, we may never know, background shrouded in mystery; organ speaks of humble priest. Peter Horsfield 21/9/2017 Inspired by the lunchtime organ recital given by Graham Thorpe at Christ Church (United Reformed), Leatherhead, on 21st September 2017 |
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Holistic Sound (Acrostic on Buck Brass Trio)
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Bold Mozart, from divertimento voiced,
Unlocks their gleaming instrumental choice, Contains an integrated theme of ebb and flow; Kaleidoscopic range of breath that grows Beyond constraints. In chapel resonance Reaches the vaulted heights; and stone recess Acoustics amplify ethereal effect. Staccato cross-explosive themes are tossed, Serrated intervals of Anthony Plog, To fast cadenza, ending quite abrupt. Recap to Beethoven: these players trust, Intuitively aspirate in synchrony Of presto pace, reined in with harmony. Peter Horsfield 25/8/2017 Inspired by the lunchtime concert performed in the Old Chapel of St. John’s School, Leatherhead, on 24th August 2017, by Richard Buck, trombone; Timothy Ellis, horn; and Daniel Walton, trumpet and flugelhorn. |
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Organ Recital Sequence (Pantoum)
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Gently flowing semiquavers, Double manual; Pedals dance by nimble feet, On long and lanky limbs. At the double manual, Red jumper and black pleated skirt Clothe the long and lanky limbs, While she plays off-beat and percussive rhythms. In red jumper and black pleated skirt She moves, at times flamboyantly. Her off-beat and percussive rhythms Relax into a smooth legato. She moves, at times flamboyantly; Speed and crescendo build, Replace relaxed and smooth legato In hanging suspense. Crunchy final chord Concludes the build of speed and crescendo, On pedals danced by nimble feet; The hanging suspense of crunchy final chord Now ends the flow of semiquavers. Peter Horsfield 24/5/2017 Inspired by the lunchtime organ recital given by Gillian Lloyd at Christ Church United Reformed Church, Leatherhead, on 17th May 2017 |
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Organic Medley (Haibunga)
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public recital every detail on view nowhere to hide |
Pillar and pulpit fully conceal the organist; but modern technological wizardry displays a complete and dynamic image on the big screen – all minutiae recorded. (An unexpected gift for the artist, sketchbook in hand.) Stocky figure leans back slightly, grizzled face shows total absorption in the music.
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Baroque and modern dexterity, hand and foot Yorkshire grit |
Multi-tasking, with two manuals, and a row of stops, he nods to the page-turner, whose deft hand floats across the screen, before retreating once again into the shadows. Disembodied sound fills the church, vibrates to its very core.
Inspired by the lunchtime organ recital given by David Oldfield at
Christ Church (United Reformed), Leatherhead, on 19th April 2017.
Peter also sketched David Oldfield during the recital:
Christ Church (United Reformed), Leatherhead, on 19th April 2017.
Peter also sketched David Oldfield during the recital:
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Schumann's Opal (Villanelle)
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Swept up in passionate emotions’ flow, I drop my pens – no longer can I draw The sublime trio who mit Feuer grow. Mit energie und Leidenschaft they go Through movement 1, forward momentum more, Swept up in passionate emotions’ flow. Lebhaft, but not too fast; they know That inner feeling, breathed together for The sublime trio who mit Feuer grow. The violin, solo, langsam, soars, and oh! Picked up by ‘cellist, sheds a tear with awe, Swept up in passionate emotions’ flow. Such tiny hands; the fiery pianist throws Cascading octaves with outstanding force; The sublime trio who mit Feuer grow. Imaginative gemstone’s music sows The seed. I sit enraptured. Without flaw, Swept up in passionate emotions’ flow, This sublime trio plays; mit Feuer grows. Peter Horsfield 13/4/2017 |
Inspired by Piano Trio No 1 in D minor Op 63 (1847) by Robert Schumann, from the lunchtime
concert performed at Leatherhead Methodist Church on 13th April 2017 by
Trio Opal - Eriko Nagayama, violin, Joel Siepmann, cello and Yi-Shing Cheng, piano.
concert performed at Leatherhead Methodist Church on 13th April 2017 by
Trio Opal - Eriko Nagayama, violin, Joel Siepmann, cello and Yi-Shing Cheng, piano.
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Side by Side
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At 3 pm, the day of Storm Doris, huge crowd of people flocked to see and hear two pianists in perfect synchrony upon the keys of our Grand Schiedmayer. Arrival of the Queen of Sheba made a rousing start, from opera Solomon – such vacuous plot, set in Handelian vein. (Light hearted quip – was less than three hours long!) Breathtaking rhythm and variety then followed, classical and popular; they swapped positions, but still side by side both breathed as one harmonious bright colour through Dinah, Jeepers Creepers, Honky-tonk, Debussy, Benjamin, Warlock and Brahms; explored wide-ranged emotional nuance – Rachmaninov, Dvorak – at their command. Outside, the unabated gale still raged, belied this music from a gentler source, by inspired duo on a magic stage; here the only storm – of rapturous applause! Peter Horsfield 25/2/2017 |
Inspired by the concert recital performed at Leatherhead Methodist Church on
23rd February 2017 by Jan and Ian Assersohn, piano duo.
23rd February 2017 by Jan and Ian Assersohn, piano duo.
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Acoustic Trio
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I sit so close, a vantage point to sketch these feisty jazz performers; apprehensive lest their volume overwhelm my ears – but gentle fingers stroke piano keys in smoothly rippling syncopated rhythm, laid-back style that’s effortless in swing. Alternate saxophones in haunting timbre join mellifluously, blending colour – vintage brass from nineteen-fifty-eight is echoed by the strings of double bass she plucks with energy mercurial, in resonance and synchronicity. Though, amplified, their sounds fill up the space, they never overstep acoustic range, remaining safely in my comfort zone. Emotional nuances, finely honed; relaxed and lazy, or of darker twist; all freely emanate, finely expressed. An unexpected instrument now joins the mix in place of saxophone: surprising tricks performed on his recorder, limpid tones (more commonly Baroque) by him composed, reiterate relaxed setting of joy – concludes this gig, as I sit closely by, transported to serene realm of such height – by pencil snapshots on my page immortalised. Peter Horsfield 30/9/2016 |
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 29th September 2016
by The Tom Ridout Acoustic Trio - Thomas Morley Ridout, sax; Will Barry, piano; and Flo Moore, double bass.
by The Tom Ridout Acoustic Trio - Thomas Morley Ridout, sax; Will Barry, piano; and Flo Moore, double bass.
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Solo Recital
Feat of stamina and memory
liberates her from the music score.
Fingers from cocked wrist with muscle power
span the keys in fast-cascading octaves –
what momentum carries us along,
breathtaking, relentless in its passion.
Brief silence refocusses the scene;
Florestan, Eusebius replaces,
Schumannesque, from this extreme to that;
plumbing emotions' dizzy heights and depths,
she channels every detail of intent,
faithfully portrays composer's will,
pendulum that moves with massive swings,
capturing out hearts in many moods;
all this without the aid of written notes,
faultlessly, the imagery flows,
in twenty movements through the piano linked
by virtuoso totally absorbed –
as are we, swept up in th'eternal Now,
wishing this memory would never end.
Peter Horsfield 1/8/2016
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 28th July 2016
by Greta Astedt, piano.
by Greta Astedt, piano.
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Viola (Acrostic Tanka)
Inspired by the lunchtime solo viola concert performed at Leatherhead Methodist Church on
30th June 2016, by violist Timothy Ridout.
30th June 2016, by violist Timothy Ridout.
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Special Duo
Viol-a and viol-in blend uniquely from the string, resonating richly through the air, fill the church with joyful paeans. This pair dance with Bartok, arranging – violin with violin cannot match their subtle overtones; harmonies, full-bodied; highly flown melodies abruptly end with bows' flourish; thus they send messages repeated from the raw, rhythmic folk music, without a flaw. Yellow gown, flamboyant, contrasts dark dress and hair, interprets music stark, visually transmits a sound so rare – other combinations wouldn't dare play their selected repertoire of viol-in and viol-a. Peter Horsfield 5/6/2016 |
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 2nd June 2016 by
Roma Tic, violin; and Victoria Bernath, viola.
Roma Tic, violin; and Victoria Bernath, viola.
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Suite Melancholy
Melancholic, meditative, heroic;
C minor mood hangs heavily
from her focussed, gliding bow,
yet dances with her fingers
through the six sequential movements
of Suite number 5.
The weeping 'cello resonates
and amplifies tangible feeling.
Aching notes conceal inner stillness
and profound serenity –
a paradox that encompasses
both noble joy and sadness.
The lighter elevation of G major
initiates the flow of suite 1.
She plays from Anna Magdalena's
original transcript,
many squiggled notes, close-packed:
J. S. Bach channelled and translated.
Yet, even here, a wistfulness
and poignant mourning tinge the air.
A rich, dynamic, meditation
has engaged me, held me
rooted in the living moment;
purified and uplifted.
Peter Horsfield 6/5/2016 51
C minor mood hangs heavily
from her focussed, gliding bow,
yet dances with her fingers
through the six sequential movements
of Suite number 5.
The weeping 'cello resonates
and amplifies tangible feeling.
Aching notes conceal inner stillness
and profound serenity –
a paradox that encompasses
both noble joy and sadness.
The lighter elevation of G major
initiates the flow of suite 1.
She plays from Anna Magdalena's
original transcript,
many squiggled notes, close-packed:
J. S. Bach channelled and translated.
Yet, even here, a wistfulness
and poignant mourning tinge the air.
A rich, dynamic, meditation
has engaged me, held me
rooted in the living moment;
purified and uplifted.
Peter Horsfield 6/5/2016 51
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Recital (Rondeau)
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Such monumental Mendelssohn,
sonata played by David on the Christ Church organ, URC, concludes this day's variety of music, recent to Baroque. The re-voiced pipes, in subtle song to skilful touch and stops respond with spectrum range, wistful to glee – emotion Monumental. Movement Con moto maestoso would seem to be the last to flow from swift-fingered agility; but follows unexpectedly a short Andante tranquillo, to balance Monumental. Peter Horsfield 22/4/2016 50 |
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Bachathon (Haiku trail)
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many items recital charts the year flowing stamina light from heavy emerges from texture organ pipes re-voiced pedals, keys, and stops multitasking sequential nimble fingers run contrapuntal melodies harmonic progression brief figures integrate spaces echoes resonate adagio mournful minor sings expressive response fugal build-up lightly tripping joyful close Peter Horsfield 16/3/2016 49 |
Inspired by the lunchtime recital of organ music by J S Bach given by Anthony Cairns at
Christ Church (United Reformed), Leatherhead, on 16th March 2016.
Christ Church (United Reformed), Leatherhead, on 16th March 2016.
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Toccata
Note by note,
note by repeated note,
it gathers pace, more pace,
frenetically,
all in the memory,
and in his kinaesthetic fingers;
crossed hands leap gymnastically
with muscular power.
Feeling, expression, body language,
dart mercurially,
as if to evade capture.
The music journeys through peaks and troughs
of speed and dynamics,
returns to that one mesmeric note;
sets off again,
crashing and clashing octaves
in parallel and contrary motion.
Again the piano shudders on the floor,
transmits elemental vibration.
Another slowing and quietening
heralds final frantic dash
to glissandoed conclusion.
Peter Horsfield 3/3/2016 48
Inspired by the performance of Prokofiev's Toccata in D minor, Op 11, at Leatherhead Methodist Church on
25th February 2016 in the afternoon piano concert by Marios Panteliadis.
note by repeated note,
it gathers pace, more pace,
frenetically,
all in the memory,
and in his kinaesthetic fingers;
crossed hands leap gymnastically
with muscular power.
Feeling, expression, body language,
dart mercurially,
as if to evade capture.
The music journeys through peaks and troughs
of speed and dynamics,
returns to that one mesmeric note;
sets off again,
crashing and clashing octaves
in parallel and contrary motion.
Again the piano shudders on the floor,
transmits elemental vibration.
Another slowing and quietening
heralds final frantic dash
to glissandoed conclusion.
Peter Horsfield 3/3/2016 48
Inspired by the performance of Prokofiev's Toccata in D minor, Op 11, at Leatherhead Methodist Church on
25th February 2016 in the afternoon piano concert by Marios Panteliadis.
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A Bag Full Of Hats (Acrostic Sonnet)
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A gentle folk-band plays for our delight; Bewitching melodies and rhythms flow Along the strings of instruments sublime, Give body to the voices' blend that grows From George, supported by Steve, Pete, and Jess, Until the room reverberates the sound, Light-heartedly with ditties that address Liquidity to cloak us all around – Or poignant subjects feed our deep concern, Find love, compassion, for us all to share. How joyfully we dance the drum-beats' turn, Allow the music's message to ensnare The rapt attention of our company, Sustain the Oneness of this harmony. Peter Horsfield 4/1/2016 47 |
Inspired by the gig played by this band from East Grinstead, called A Bag Full of Hats, at Claridge House, Lingfield, on 3rd January 2016
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Fireworks from the Keyboard
“Remember, remember, the fifth of November.”
Everything by memory,
not a single written note to his aid –
he removed the shelf and desk beforehand,
baring all the strings in their full range.
Without safety net, he treads a tightrope;
with supreme confidence
he lets the music rule him,
surrenders completely to its momentum.
Forecast pianistic fireworks
raised our expectations in advance;
but with slow and liquid intensity
Granados initiates his programme –
with furrowed brow and total absorption
he crouches yet lower,
coaxing fingers caress keys,
tap into that well of emotion.
Then Ritual Fire Dance, sorcerer,
explodes the arena with magic.
Chopin in all his moods
fills the arched space through nimble fingers.
(Minute Waltz – surely no faster?
The name is myth, not fact.)
Reviews from the Press:
steel and velvet; spewing lava
amplified the adjectives.
His fleeting facial angles, never still,
tilt of shining scalp and pointed chin,
join the flourish of his flailing arms,
as Rhapsody in Blue concludes his play
(memorised, but style with scope to improvise),
elicits images of licking flames and thunder
on this iconic anniversary.
Peter Horsfield 5/11/2015 46
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Inspired by the lunchtime piano recital given at Leatherhead Methodist Church on 5th November 2015 by Viv McLean. Viv first performed here accompanying wind players in October 2014.
Iconic anniversary because this was indeed Fireworks, Bonfire, or Guy Fawkes Night, when the English remember the failed Gunpowder Plot to blow up the Houses of Parliament in 1605. Iconic anniversary too as it was around this time in 2014 that two of the audience went to see the Schiedmayer in the donor's home and realised what a wonderful gift it was going to be for the Church and for the concerts. |
Vieuxtemps
Rippling waves of dreamy melody
in elegiac mood enfold our ears.
Exquisite viola vibration,
from Grancino instrument,
resonates from depth of centuries;
fills the air as if suspended
by timeless moment.
Eyes closed, chin inclined skyward,
yet still gripping the curved wood which sings,
he glides and strokes his bow,
long-phrased, across the strings.
Now his fingers move apace
in passionate exhilaration;
body dances, eyes light up,
mercurial in fleeting facial
humour and sheer joy.
His pianist integrates perfectly,
expands full range of feeling –
musical expression
which takes our breath away.
Who would believe that this duo
has not played together before?
Intuitive synchrony speaks
without need for conscious control.
Natural wholeness emanates
from this untried combination;
and through them channels
a little-known Belgian composer,
creating two-fold novelty
of melodious delight
which rivets our attention
in one magnificent performance.
Peter Horsfield 29/10/2015 45
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Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 29th October 2015 by
Timothy Ridout, viola,and Amiran Zenaishvili, piano. Their programme featured music by Henri Vieuxtemps, 1820-1881. Timothy played on a 1677 viola by Giovanni Grancino, Amiran on our 1970s Schiedmayer baby grand piano. |
Cavendish Winds (Acrostic)
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Can this quintet outplay “the pain of reeds”
And beat an unpredictable response? Vivacious fingering, and breath that feeds Ensemble five-fold, leaps and skips in dance. New discords, sharp and rhythmic, acquired taste, Discover syncopated tonguing tips. Industrious high whistling notes in place Slide piccolo; low grumbling bassoon kicks. Horn resonates the underpinning chords With texture rich of clarinet and flute In poignant humour; oboe darkly draws Nuances, mushroom-like, expanding tune. Delightful tone of many lips is heard, Sustained by breath; communicates the Word. Peter Horsfield 8/10/2015 (Celebrating National Poetry Day) 44 |
Bayanello
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Cello and accordion, accordion and cello, breathe a special blend of sound in Duo Bayanello – with intensity they shake and vibrate – body language swimming in amorphous drift of nuance deep and subtle. They writhe, sinuous and strong, all curves and angles; volume matches contrast resonant in slides and scoops,and fine-tuned tilt of head mercurial, expressive eyebrows lifted; hands in several places seem to simultaneously execute 'midst skeins of hair in ponytail and fringes, ever dancing with the bow, great waves of synchronicity to syncopated beat, staccato and vibrato; aura of variety, in bayanello duo. Peter Horsfield 24/9/2015 43 Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 24th September 2015 by Duo Bayanello: Iosif Purits, bayan/ accordion; and Cecilia Bignall, cello. |
Of Brahms and Massenet
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Rivers of sound cascade hemiolas – three into two, two into three – swept along in passionate sequences; rising and tumbling, they burst all constraints. Contrast of instrument, strings and piano; mouthpieces faithful channel composer. Mirrored by features northern and orient; Poland and Taiwan, fair hair and dark. Female energy blends all these differences, integrates duo, blue eyes and black. Soaring on dreamy wings meditational, high note harmonic hangs in the air. Singing tear-drops fly from her bow; pizzicato, then smoothly phrased. Sonorous chords from the piano below resonate poignantly, capture the heart. Borne aloft by tide unstoppable, we are at one, totally One into the moment of exquisite ecstasy, flowing Beyond in this River of Sound. Peter Horsfield 10/9/2015 42 |
Inspired by Scherzo in C minor by Brahms, and Meditation from Thais by Massenet; items from the lunchtime concert performed at Leatherhead Methodist Church on 10th September 2015 by Anna Orlik, violin; and Yi-Shing Cheng, piano.
'Hemiola' is the musical term describing a series of notes in which one part is counting in threes and another part is counting in twos. On the organ or piano this could mean fingers of the same hand playing in different time; for a choir perhaps sopranos are singing in three time with altos or other parts in two time - or vice versa. The term 'sesquialtera' is also used to describe this musical figure. There are examples on the 'hemiola' page in wikipedia here.
'Hemiola' is the musical term describing a series of notes in which one part is counting in threes and another part is counting in twos. On the organ or piano this could mean fingers of the same hand playing in different time; for a choir perhaps sopranos are singing in three time with altos or other parts in two time - or vice versa. The term 'sesquialtera' is also used to describe this musical figure. There are examples on the 'hemiola' page in wikipedia here.
Nuance
Saxophones in quadruplicate
embody range of shapes and sizes,
blend in seamless flow of melody,
each player unique and distinct;
yet create a larger, natural Whole,
as if these four young women,
so recently come together,
had never been apart.
They breathe as One, explore the light and shade
of subtle differences –
nuances, but never nebulous –
which enhance their skilled arrangements.
Dvorak's “American Quartet”,
so familiar in strings,
takes on a reincarnation
utterly convincing,
in mellow, milky tone;
seemingly the original,
authentic, version.
Pequena Czardas
displays their virtuosity;
so many notes at speed,
beyond all imagination,
but separated by quieter,
gentle, poignant interlude,
which emphasises even more
their jubilant, rhythmic vibrancy.
All too soon this concert is concluded –
would that we could press the replay button!
Ecstatic experience, one-off,
is gone in a flash.
Afterwards, on the stage floor,
we see the sheets of music score
strewn at random, scattered to the winds,
having fulfilled their momentary purpose;
a symbol, perhaps, of the pull of life,
as, about to embark
on their respective careers,
these musicians will disband – only, we hope,
to re-convene, and once again
delight us with fresh nuances.
Peter Horsfield 20/8/2015 41
embody range of shapes and sizes,
blend in seamless flow of melody,
each player unique and distinct;
yet create a larger, natural Whole,
as if these four young women,
so recently come together,
had never been apart.
They breathe as One, explore the light and shade
of subtle differences –
nuances, but never nebulous –
which enhance their skilled arrangements.
Dvorak's “American Quartet”,
so familiar in strings,
takes on a reincarnation
utterly convincing,
in mellow, milky tone;
seemingly the original,
authentic, version.
Pequena Czardas
displays their virtuosity;
so many notes at speed,
beyond all imagination,
but separated by quieter,
gentle, poignant interlude,
which emphasises even more
their jubilant, rhythmic vibrancy.
All too soon this concert is concluded –
would that we could press the replay button!
Ecstatic experience, one-off,
is gone in a flash.
Afterwards, on the stage floor,
we see the sheets of music score
strewn at random, scattered to the winds,
having fulfilled their momentary purpose;
a symbol, perhaps, of the pull of life,
as, about to embark
on their respective careers,
these musicians will disband – only, we hope,
to re-convene, and once again
delight us with fresh nuances.
Peter Horsfield 20/8/2015 41
Lifted on to Higher Plane (Haibun)
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Sonatas of Beethoven and Brahms are played by stunning partnership of many notes. Violin soars effortlessly into fluid song. (It already belonged to its third owner by the time Ludwig van Beethoven was born.) |
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long notes held over
poignant expression brings tears perfect synchrony |
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The pianist's page-turner has a responsible and nerve-wracking challenge. Not for an instant
can his concentration be allowed to wander. Musical score moves on fast! |
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body language
tossed with joyful abandon to and fro agitato
no destruction this time waves, dynamic range duo as one
exquisite syncopation transfixed we witness |
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Breathtaking, gloriously beautiful; intonation beyond all superlatives; famous composers of the
past speak refreshed through present-day genius. We go on our way with thanks, raised to a new level of existence. |
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 13th August 2015 by Fabrizio Falasca, violin; and Marios Panteliadis, piano. This is also Peter's 500th poem. Congratulations, Peter on a remarkable flourishing.
The reference to “no destruction” is from my poem “Tested to Destruction”, written on 30/4/2015, after the previous recital by Marios Panteliadis.
The reference to “no destruction” is from my poem “Tested to Destruction”, written on 30/4/2015, after the previous recital by Marios Panteliadis.
ContrastsFrom the land of ice and fire, integrated piano keys join with notes of English flute in pastoral expression free. These two ladies work together, honed experience they share; music graduates distinguished play unique and varied fare. Sparsely populated country joins with one a hundred times denser – such a range of feeling gives a spaciousness to find. Known composer's new arrangement leads to those we've never heard; slow and stormy, bare fifths crunching, dark and jagged thoughts are stirred like the waves on rock-forms crashing in a wilderness so vast, resonant to bleak horizons – life ephemeral outlasts. Now the scene is flowing, florid, lyrical and light of touch; decorated trilling sequence brings a climax full of such effervescent joy of Higher Being – ice subsumed in fire. Peter Horsfield 8/8/2015 39 |
perilously perching
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precarious placement
podium’s peak professional presence painstaking pedagogue pindrop peace purposeful playing programmed perfection poignant pensive peerless polyphony prowess prodigious percussive palms purveying power plentiful plaudits poignant postscript polished performance plaudits paradise pleasant parting peter steadman, 4th august 2015 38 |
Inspired by David Massey’s guitar concert in Leatherhead Methodist Church, in the Music on Thursdays lunchtime series on Thursday 30th July. David was seated on a small platform so that more of the audience would be able to see him perform. There was almost enough room for him to sit and play with comfort, but as he said himself – David has played on smaller platforms.
The word bank for this piece of free verse, selected from Roget’s Thesaurus, included: pace, pacemaker, packed, pad, page, painstaking, pale, palm, palpable, pang, paper, parachute, paradigm, paradise, paradox, paramount, paraphrastic, parlour, part, partake, particular, parting, passage, passing, pastime, path, patient, peace, pedagogue, pedal, pedestal, pedigree, peerless, pen, penchant, pensées, pensive, people, peppery, perceive, perception, perch, perching, percolate, percussive, perfect, perfection, perforce, perform, performer, perhaps, peril, perilously, perimeter, period, peripatetic, permanent, permeate, permit, persevere, persist, person, persona, personable, personal, personality, perspective, phase, phenomenon, phrasing, physical, physiognomy, piano, piano-stool, pick, picture, piece, piercing, pindrop, pinnacle, pitch, place, plainly, plaintive, plangent, planted, plateau, platform, plaudits, play, plea, pleasant, please, pleasure, plectrum, plentiful, pluck, plummet, pocket, podium, poetic, poignant, point, poise, polish, polite, polyphony, ponderous, popular, portrait, pose, position, positively, possess, possible, post, postgraduate, postscript, posture, potent, power, practice, praiseworthy, precarious, precise, precision, prefer, preference, premier, presence, present, presentation, pressing, presto, pride, prime, princely, private, proceed, process, proclaim, prodigal, prodigious, professional, profile, profound, progression, prolong, proud, proven, provident, prowess, proximate, public, pulse, pupil, pure, purity, purposeful, puzzle. 160 words
The word bank for this piece of free verse, selected from Roget’s Thesaurus, included: pace, pacemaker, packed, pad, page, painstaking, pale, palm, palpable, pang, paper, parachute, paradigm, paradise, paradox, paramount, paraphrastic, parlour, part, partake, particular, parting, passage, passing, pastime, path, patient, peace, pedagogue, pedal, pedestal, pedigree, peerless, pen, penchant, pensées, pensive, people, peppery, perceive, perception, perch, perching, percolate, percussive, perfect, perfection, perforce, perform, performer, perhaps, peril, perilously, perimeter, period, peripatetic, permanent, permeate, permit, persevere, persist, person, persona, personable, personal, personality, perspective, phase, phenomenon, phrasing, physical, physiognomy, piano, piano-stool, pick, picture, piece, piercing, pindrop, pinnacle, pitch, place, plainly, plaintive, plangent, planted, plateau, platform, plaudits, play, plea, pleasant, please, pleasure, plectrum, plentiful, pluck, plummet, pocket, podium, poetic, poignant, point, poise, polish, polite, polyphony, ponderous, popular, portrait, pose, position, positively, possess, possible, post, postgraduate, postscript, posture, potent, power, practice, praiseworthy, precarious, precise, precision, prefer, preference, premier, presence, present, presentation, pressing, presto, pride, prime, princely, private, proceed, process, proclaim, prodigal, prodigious, professional, profile, profound, progression, prolong, proud, proven, provident, prowess, proximate, public, pulse, pupil, pure, purity, purposeful, puzzle. 160 words
Feedback: Ear and Eye
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Her dancing flute describes an arc of movement floating with the notes of virtuosity she breathes, while flexing muscles, never still, in trajectory sinuous, express in body language smooth an ever-changing livery in poignant nuances and shades of music skilfully portrayed. Inseparable pianist, at times flamboyant, wistful, bold, communicates a calm support; an integrated feedback loop of listening; and sensitive to each progression that unfolds, his intuition steers a course through repertoire so broad and rich, from Mozart, Copland, Hindemith - - - The artist snapshots, drawn at speed, embody essence of this pair, encapsulate from every angle moving sequence of dynamic interaction; satisfies demand for colour; ear and eye are thus united on holistic path, as Tango Fantasia ends this concert on a High. Peter Horsfield 23/7/2015 37 |
Tripartite Brass
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Sombre black attire belies their musical performance; gleaming metal, held aloft, glints gold and silver; warming tone so rich, not over-loud, in brass that isn't brazen, blends a harmony unique, enfolds our ears – such haven holds us spellbound this lunch-time, as horn, trombone and trumpet play in permutations bold, with floating sound so limpid. Piano, too, enters the mix; these versatile musicians bend their will to new arrangements, music in transition. Mozart, Haydn, light and shade, familiar and less known works from repertoire they take in stride – pioneered and well-blown. Dancing colours from the bell of brass create a picture perfect in its integration – freedom flows with structure. Peter Horsfield 10/07/2015 36 inspired by the Buck Brass Trio concert of 9th July 2015 in Leatherhead Methodist Church |
Flute & Guitar acrostic sonnet
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From compositions freely improvised Like shining rivers, breathed in silver notes, Unique in style, she dances with a light Triumphant flourish, rhythmically floats Ethereal music. With her instrument A thread of quicksilver enfolds our ears, Now lively, now a haunting testament Describes in poignant tones a well-known theme. Guitar he integrates with textures rich; Uncanny synchrony of chordal base Instills interpretation sensitive – Their partnership of “Stolen Serenades”. Arrangements many, overlaid with skill, Return to delight; thus our hearts they fill. Peter Horsfield 29/5/2015 35 |
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 28th May 2015
by Emily Andrews, flute; and David Massey, guitar.
by Emily Andrews, flute; and David Massey, guitar.
2 Cellos
Synchronised, stereophonic,
rich and sonorous,
their bows glide in tandem,
breathing together in great waves –
multidimensional sound
cloaks our ears from all sides,
echoes the colours of visual impact:
purple dress, blue shirt and tie,
dark browns and yellows of vibrating, shaped wood;
fingerboards' full expression
projects and floats beyond all bounds.
With alternating notes, high and low:
harmonics, pizzicato,
seamless legato,
repartee from instrument to instrument;
in relaxed exuberance and joy
these two players meld into One,
yet each remains distinct and separate,
each contributes a vital part
to a Whole which is more than their sum.
Peter Horsfield 15/5/2015 34
rich and sonorous,
their bows glide in tandem,
breathing together in great waves –
multidimensional sound
cloaks our ears from all sides,
echoes the colours of visual impact:
purple dress, blue shirt and tie,
dark browns and yellows of vibrating, shaped wood;
fingerboards' full expression
projects and floats beyond all bounds.
With alternating notes, high and low:
harmonics, pizzicato,
seamless legato,
repartee from instrument to instrument;
in relaxed exuberance and joy
these two players meld into One,
yet each remains distinct and separate,
each contributes a vital part
to a Whole which is more than their sum.
Peter Horsfield 15/5/2015 34
Inspired by the lunchtime guitar concert given at Leatherhead Methodist Church
on 14th May 2015, by Jacqueline Phillips and Julian Metzger.
on 14th May 2015, by Jacqueline Phillips and Julian Metzger.
Guitar Moods
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Fluorescent orange shirt shouts loud, belies the melancholic melody which gently whispers, soft and wistfully, coaxed by nimble fingers' plectrum sound. Sitting on the new-found comfy stool, adjustable in height, with padded seat of black and sombre leather domes, he feeds music to our ears, in heartache mood. Interspersed with sequences fast-tripped, and unexpected abrupt “wake-up” chord to end a movement, he plays heavenward; great variety, composers picked. Encore follows programme deep immersed in present moment's focus. With him here his wife in Spanish sings a plaintive air – duet with the strings in joy is heard. Peter Horsfield 10/5/2015 33 |
Inspired by the lunchtime guitar concert given at Leatherhead Methodist Church
on 7th May 2015, by Francisco Correa.
on 7th May 2015, by Francisco Correa.
2nd May 2015
The Church has a newly-donated Schiedmayer baby grand piano which is used by the Thursday concerts and by the Church - indeed it was played for a recent wedding.
Peter Horsfield was inspired to write the poem below as the piano was played for the first time by an experienced young concert pianist. We don't really compare ourselves with the Sydney Opera House, but it was pleasing to see that venue among Marios Panteliadis' previous engagements! Marios gave a wonderfully expressive performance and can certainly be said to have put our new piano through its concert paces.
You will find details of his 30th April 2015 concert on this linked webpage.
The Church has a newly-donated Schiedmayer baby grand piano which is used by the Thursday concerts and by the Church - indeed it was played for a recent wedding.
Peter Horsfield was inspired to write the poem below as the piano was played for the first time by an experienced young concert pianist. We don't really compare ourselves with the Sydney Opera House, but it was pleasing to see that venue among Marios Panteliadis' previous engagements! Marios gave a wonderfully expressive performance and can certainly be said to have put our new piano through its concert paces.
You will find details of his 30th April 2015 concert on this linked webpage.
Tested to Destruction
On two stacked chairs he bounces precariously –
Schiedmayer piano visibly shakes on the carpet,
while brooding, percussive crescendos
cascade, ever more intense,
then die to a melancholic tranquillo
outpouring of emotion.
Surrounding silence hugs his dark-suited form,
absorbed in the flowing moment;
with total focus he holds his audience.
Renewed stormy rhythmic agitation
fills the instrument's compass,
explores its limits –
in thundering savagery
his fingers assail the keys;
yet maintain controlled precision,
every complicated
melodic progression in its place,
every dissonant chord and crashing octave
perfectly executed.
By primitive, primeval dance
of Hungarian Liszt and Bartok,
he is possessed; and we with him.
Not wanting the concert to end,
I am abruptly jolted from my reverie.
The piano has survived well –
its forerunner might not have been so fortunate;
in the mind's eye
exploding wooden splinters strew the stage,
mirroring the music's passion.
Peter Horsfield 30/4/2015 32
Inspired by the lunchtime piano recital given at Leatherhead Methodist Church
on 30th April 2015 by Marios Panteliadis.
On 30th October 2014 we launched:
Bassoonatic, and Other Poems
Peter Horsfield's Musical Anthology
with illustrations by Diana King.
Copies are on sale after the concerts, and at
Barton's Bookshop, Bridge Street in the centre of Leatherhead
Peter was once more inspired by a lunchtime concert, this time our 2014 season finale which was played by Iosif Purits and Bartosz Glowacki, both accordion playing masters students at the Royal Academy of Music. From the tiniest of sounds to a note you would have thought came from an organ's pedal pipes, these two players amazed us with the expressive versatility of their instruments.
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Accordion (Part-Acrostic)
Artist's challenge: writhing snake-like moves Constantly change its shape with every breath, Contain within pulsating, curving box Of many buttons' input, a music Repertoire so different from the squeeze-box Dance-band stereotyped image; rises Incandescent with depth of emotion. Oh what volume, together with delivery; Nuances of facial angles never still. His chin at times rests on the instrument, as if to coax last drop of resonance, may tilt aloft, or hide behind the box with furrowed brow; fleeting duration gone in rapid turns, and synchronicity of nimble fingers mirrors a spooky sonority that lingers quite spell-bound amidst the aura. Ever-fluid sound, now shared in lively duet, reaches page encapsulated by dynamic pen. |
Most of us found the Bartok violin and piano sonata on 13th November 2014 fairly challenging. Diana King worked on ten sketches during the concert, and Peter Horsfield found inspiration to produce this poem:
Blistering Bartok
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Frantic and frenetically glides her bow upon the strings:
high-pitched squeals and sharp glissandi, jagged intervals she sings. Jarring discords wrench the gut, in virtuoso sliding scales, broken bowstring like a disembodied whiplash cracks a trail. Piano keys crash louder, faster, dissipating far and wide energy's percussive spread; unstoppable the music's tide. Briefly in Adagio, the sounds are softer, slow, sustained, wailing in appassionato, like her hair, on edge, and splayed. In amongst atonal crunching, C sharp minor plays a hand: tragic mood and dark foreboding grip me with an iron band. Out of comfort zone I'm catapulted with a force so strong – as the pace accelerates, exhilarates, I'm drawn along irresistibly: our artist, too, is influenced by this, sketches at a speed unparalleled; ten pictures capture bliss. Peter Horsfield 13/11/2014 30 |
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Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 13th November 2014 by Sara Cubarsi, violin, and Seungwon Lee, piano.
This concert provided a strange, jangled resonance with my turbulent state of mind, elicited by the present state of chaos at home, in the midst of building work – from which I was grateful to make a temporary escape. |
Harp Haiku Trail
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giant oven mitt sits astride the trolley wheels hiding heather's harp silent instrument padded glove of deepest blue safe protection singing strings glide effortlessly nimble fingers Aurora Trio dawn of sound coordinates viola and flute blended music varied concert programme joyful expression after performance comfortably cocooned move to next venue |
Peter Horsfield 31/10/2014 29
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 30th October 2014
by Emma Halnan, flute; Joe Bronstein, viola; and Heather Wrighton, harp.
Inspired by the lunchtime concert performed at Leatherhead Methodist Church on 30th October 2014
by Emma Halnan, flute; Joe Bronstein, viola; and Heather Wrighton, harp.
Natural Virtuoso
Anna Hashimoto and her clarinet are familiar sights and sounds for our lunchtime concert audience. On October 23rd 2014 Anna was accompanied by pianist Daniel King Smith in three works that between showed off their respective virtuosity - and as Peter says here, used just about every note that exists on both instruments.
Peter had decided to sketch during the concert, but nonetheless found a moment to jot down this haiku:
Peter had decided to sketch during the concert, but nonetheless found a moment to jot down this haiku:
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manic trills piano takes a bashing agile clarinet |
Later, Peter expanded the ideas into this poem:
Natural Virtuoso
Manic trills
(the Devil of Tartini)
adapted from the violin
cascade her instrumental range,
fluid as her long black hair,
effortlessly, ever-moving –
surely the most notes in any concert!
At times the disembodied sound
seems to come from separate source;
melody and trill sustained together
defy all rational explanation.
Lyrical and operatic tone
(from short-lived Bellini),
spectrum of dynamic mood and colour,
gives way to fast and furious jazzy swing
(Themes from Carmen – Rosenblatt),
and now the piano takes a serious bashing;
no note is left untouched
by clarinet or keyboard –
each tossed in aphoristic repartee
towards exuberant, breathtaking climax.
Trills are stilled,
as we suspend our disbelief.
Peter Horsfield 23/10/2014 27 & 28
The Baroque
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In her remarks during the Songs of the English Baroque concert on 28th August 2014, Anna Tam spoke of the origin of the word "baroque" - a French term for a misshapen or imperfect pearl. The word also appears in Spanish and Portuguese as "barroco". Peter Horsfield jotted down this haiku at the time: |
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misshapen pearl
grounded by boundary soars in pure sound |
Later Peter noticed that the term "misshapen pearl" has fourteen letters - which lends itself to the acrostic sonnet form. Here is the result:
Misshapen Pearl (acrostic sonnet)
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My ears are resonating to the sounds In gentle purity ascending free, Setting the boundaries, with bass to ground Such beauty; music from a bygone era Has expressed by voice and lute in turn An ornamented passage, clear and grand, Performed despite seeming deformed, and merged, Elaborate in detail; understands Nuances of emotion; light and shade Project an inner feeling, fast or slow. Exuberant or melancholy ways Arise spontaneously; sounds that grow Rejoice in life's rich texture, share with me Listening a sense of timeless pedigree. |
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Theorbo
It has longest neck, and two sets of pegs, and so many strings you lose count – the seven bass ones cantilevered out to the side, beyond the frets, open and resonant, deepest of tone, generously accommodate fingers. Its body profile, striated and shaped like a beetle's elytra, or humbug sweet, hides from view in performance: only the elegant golden face, the sounding-board embellished by triad of ornately fenestrated circles, contrasts the chocolate stretching stem, as his dexterous digits move softly, generate melancholy melodies; bygone Baroque, yet here in this moment, timeless and poignant in absorption. Body language in total focus, etched on his brow, dark but serene, emanates far-ranging French music, reluctant to break concentration, even when sound fades into silence, and the instrument's vibrations hang still. Peter Horsfield 15/8/2014 24 |
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The Theorbo is a long-necked lute with an extended bass range, and was played by Yair Avidor in the lunchtime concert at Leatherhead Methodist Church on 14th August 2014. The poem was inspired by this experience.
Japanese Duo
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Concert of contrast and coherence
captures poignant mood-swings, from dark and anguished to gentle, dreamy, joyful. Violin and piano communicate with interplay and sensitivity: tumbling, percussive chords alternate with lyrical legato, passionate pizzicatos blend with rippling arpeggios. Jewish, Japanese, Norwegian (Bloch, Hikaru Hayashi, Grieg), integrate a special character, interpretation unique in music – reflected in their flowing dresses, turquoise and green; and female Oriental features, emphasised by different statures, enhance our sound experience; harmonious and holistic balance. |
Atéa, Polynesian god of light,
embodied as an icon by this group, blows rippling breezes, and transmitted through the mouthpiece of a flowing vocal line ignites Divertimento by Mozart; dancing dynamic by the Trio voiced, synchronised breathing spreads infectious joy, warmly embraces audience from the heart. Their instruments describe such graceful curves; spontaneous in geometric form the visual figures out of air are born that with these floating melodies emerge. “Docking” maneouvres with the music stands precariously balance sheets of score, as duet permutations render more variety, while freeing pair of hands. Poulenc: eccentric, syncopated notes reveal a humour angular, abrupt, mirrored by posture of bassoonist gaunt; all arms and legs, as if by Hoffnung stroked. The Chase, duet for flute and clarinet, exchanges themes at speed;cross-rhythms fly between, Peter-Pan-like across the sky, and aerially helter-skelter set. Gossec Gavotte (who's he?) the concert ends in trio form; each lively instrument now tosses music to the firmament. Alas! no artists; but Atéa sends. Peter Horsfield 10/6/2014 22 |
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Joyful Trio Transforms
Arriving late, after bank meeting which seriously overran, mind spinning, and addled with figures, I collapse into a comfy chair. Instantly, a warm cloak envelops me; a ripple of resonating sound, synthesis of 'cello, flute and piano, transports me to a timeless place, every care discarded with abandon. Like the musicians, in total absorption, I share the ever-moving moment, Martinu – inspired, strange yet familiar, embodied by this trio; individual, yet blended magically, they project an aura intensely palpable, that runs the moods from fast and passionate to slow and lyrical, and back again. Dextrous fingers, body language, toss the melody around from instrument to instrument, and integrate a rich chordal texture which floats suspended in the ether, embedded in the very fabric and colour of this church. Numinous quality – I could listen all day, do not want it to end. Back they come for lively Haydn encore. The music dies away, but scene remains – bathed and cleansed by youthful enthusiasm, joyful in heart, I go on my way. Peter Horsfield 25/4/2014 21 (Inspired by the lunch-time concert, played yesterday in Leatherhead Methodist Church, by Emma Halnan, flute; Auriol Evans, 'cello; and Daniel King Smith, piano.) |
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After one organ concert a member of the audience thanked Graham Davies and said how nice it was to be able to watch him play, because of the television screen in Christ Church. She hadn't realised before how many things an organist does at once, and commented that it was like watching Graham "tap dance on the pipes". The phrase tickled something in Peter Horsfield's mind and he wrote this poem:
Wednesday at Christ Church (Haibun)
Outside the church, rain drums heavily, wind howls, trees bend and sway. Our melodic oasis in here reflects peace from every corner.
Peter's broad back periodically obscures everything else on the monitor. A responsible job, page-turning! (Not to mention re-setting the organ stops.)
Progression of variety embodies common theme: English music (Bach notwithstanding), consonance of keys, eras of history, loud and soft, mournful and joyful, classical harmony,
As Peter's poem mentions, there were moments when the page-turner/stop-puller's form filled the television screen and the organist's actions were less visible.
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Drawing Bach
A spikeless 'cello sits between his knees, Of polished wood from era long ago; Suspended in the Now by second Suite Of J.S.Bach, so intricate the notes His supple fingers play. Melodic line Emerges from the complex chordal web, A self-sufficient solo he recites, In joy and triumph by the Spirit led. Four strings now change in piccolo to five: With subtle tones this instrument he bows Suite 6, in resonance our ears delight – Vibrating gut the heart's emotion grows. The artists chart his movements; with the brush They integrate this challenge, wholly trust. Peter Horsfield 24/10/2013 19 Alex Rolton played the English Baroque cello for Suite No 2, and a recent copy of a Baroque Violoncello Piccolo for Suite No 6. These two cellos, and the original on which the piccolo is based, are part of the Royal Academy of Music's collection. Unlike the modern cello, Baroque cellos have no spike. They are gripped between the player's lower legs. ♫▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ In 1970, or thereabouts, Peter's late father, Michael Horsfield, had the opportunity to sketch the celebrated cellist, Paul Tortellier. For those who heard the great man in concert the sketch below will quite possibly bring some very happy memories. 
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Basset Clarinet (Acrostic Sonnet) Basset clarinet has fourteen letters – A tiny fraction of the sounds she plays So fast and fluid; frees us from the fetters Set by expectation. To amaze, Extension of the lower notes so rich Transforms experience we have today; Cantabile she strokes the range of pitch, Light-hearted, silky tone, and joy her way. Arpeggios flow effortlessly upward, Rhythms, Bach and jazz, variety, Instil in us a spellbound fascination – Natural her feats of memory. Ensemble with her pianist precise Treats us with this chromatic paradise. Peter Horsfield 29/8/2013 18 Inspired by lunchtime concert performed at Leatherhead Methodist Church on 29th August 2013 by Anna Hashimoto and Andrew Saunders. |
Basset Clarinet plays four octaves from C in the bass clef to the C ten notes above the treble clef
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Baroque Thursday (acrostic)
Breathing purity of limpid tone, Awash with pearls of melancholic voice: Recorder and flute project such vibrant rhythm, Ornamented with figures of their choice. Quickly or slowly, haunting melodies compel, Underpinned by sublime harmony; Eva and Merlin weave their magic spell. Treacherous the keys beneath his fingers: Home-built harpsichord dimensions test Unseats Graham's composure only briefly – Rises to the challenge, plays with zest. Simplicity conceals exacting skills; Dancing rivulets of sound we hear. Attenuation rapid, vivid, crisp, Yields us rich reward from Higher Sphere. Peter Horsfield 15/8/2013 17 Inspired by lunchtime concert of flute, recorder, and harpsichord works performed at Leatherhead Methodist Church on 15th August 2013 by Eva Caballero, Merlin Harrison, and Graham Davies. |
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Duo (Haibun)
folk songs from their tangled roots unique every time wordless meaning rich textures from the heart communicate haunting melodies integrate air and strings catchy rhythms On the seat beside her lie three flutes of different sizes; silver, gold, black. With spontaneous joy she glides from one to another, even in the midst of the music.
Guitar blends poignantly, focused in the moment, disciplined, yet liberated by absence of musical score. His supple fingers move with coordinated precision. Clip-on extension, increasing now to ten strings, adds deep sonority. eyes contact
body language play together at ease willing to experiment total trust We in the audience are transported to a Higher Realm, at one with the creative process, manifest in the music channelled by this pair.
Peter Horsfield 2/8/2013 16 Inspired by a recital given by Emily Andrews and David Massey in Leatherhead Methodist Church, Surrey, on 1st August 2013 – a Music on Thursdays lunchtime concert. Full details of the Andrews-Massey Duo's concert and of their recent CD release will be found on the link below: |
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Maiastra Haiku
Schubert's anguished sigh between sublime melodies glides Maiastran bows. |
Peter Horsfield, 25th February 2013 15
Inspired by the performance of Schubert's String Quintet in C major Op.163,
given by Maiastra in St Andrew's Church, Cobham, on 24th February 2013
Inspired by the performance of Schubert's String Quintet in C major Op.163,
given by Maiastra in St Andrew's Church, Cobham, on 24th February 2013
Strings of Mozart and Brahms
Inseparable entity, five instruments as one, this organism lives and breathes Mozart's poignant music with rich emotional expression; sobbing sighs, throbbing quavers, are mirrored in the players' body language – urgent progression, dark, grieving descents, chromatic lines of many moods. Tension, almost unbearable, has to find emotional release: waterfall of joyful triplets – my spirit soars with their dancing bows on Maiastran wings. Their faces light up, though haunting theme lingers, and draws all together. So different now, yet complementary, Brahms on symphonic scale slips from their bows in ecstasy, powerful and passionate, bursting with the sounds of nature, as it stretches chamber music's limits. I am once again transported to a magic place of transformation, enabled by this multifaceted group; inspired cohesive instrument. Peter Horsfield 14/1/2013 14 Inspired by the previous day's concert by Maiastra of Mozart's String Quintet in G minor, K516, and Brahms' String Quintet in G by Brahms, Op.111. 
Maiastra is a magic bird in Romanian mythology
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Strings from the Heart
Would that words could soar, to embody their music faithfully. Maiastra tugs at our heartstrings, flies unfettered. Eye contact regulates harmonious group from cellist outwards. Humorous Haydn mischievously interplays many surprises. Beethoven's pinnacle, complex emotional mosaic: Muss es sein? Es muss sein! Now Cesar Franck: passionate agitation, piano quintet. Five-fold strings key stormy waves from bow to bow, player to player. They communicate and carry us with them to a higher plane. Resonating strings find ethereal voice to sing moving tear-drops. Burst of ecstasy expands beyond containment – mere words can soar. Peter Horsfield 10/12/2012 13 Inspired by the concert given by Maiastra in St Andrew's Church, Cobham, on 9th December 2012 |
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Bartok/ Schumann (Acrostic Sonnet) Begins this concert: Hungary, Chinese, Achieved by two young ladies; violin Resounds with piano, passionate and free, To music challenging. Exquisite tone O'erlays the crashing discords. Rapid flows Kaleidoscopic feeling from the heart; Such heavy going sound, yet moved to tears, Contrasting styles an integrated art. Hungarian American now plays Upon the keys alone, romantic style; Magnetic moods of dark and humour take Along Eusebius and Florestan. Narrating modestly, these vibrant stars Now shine in skill together: they'll go far. Peter Horsfield 29/11/2012 12 (Eusebius and Florestan were characters invented by Robert Schumann to represent the dual aspects of his personality.) Inspired by a perfomance by Royal Academy of Music students Tianyun Jia, violin, and Júlia Hámos, piano - the final concert of our 2012 season |
2-bas
Two young men both confident and modest
hold us all completely spellbound
with unique arrangements – magic skill blest,
on two tubas with such rich sound.
Opening number with “ventriloquism”
from behind, so unexpected,
plays Amazing Grace, and eloquently
on the treble tuba floated.
Milky tone, propelled by gasps of breathing,
spreads on warm vibration's beat
through our bodies, and the very fabric
of this church reverberates
humour, mystery and melancholy,
graceful curves of gold and silver;
they don't take themselves too seriously –
sharing joy and fun they're eager
to communicate relaxing rhythm
in the instrument's wide range.
Fine display of their professionalism
elegantly fills the stage.
Now they change the scene to voice and piano:
Flanders and Swann, piano and song;
tongue-twisting words, French horn tune so well known –
2-bas now to five instruments grown.
Speed and intricacy of the Bach suite
rivals precision of the strings.
Fnugg – the smallest dust speck, or a snowflake,
rises triumphant with the chords they sing:
didgeridoo, or chanting monks, amaze us,
all in repertoire of these two 2-bas.
Peter Horsfield 28/9/2012 11
(Fnugg is a piece by the Norwegian tuba soloist Oystein Baadsvik, and his
performance of it can be experienced on YouTube)
Two young men both confident and modest
hold us all completely spellbound
with unique arrangements – magic skill blest,
on two tubas with such rich sound.
Opening number with “ventriloquism”
from behind, so unexpected,
plays Amazing Grace, and eloquently
on the treble tuba floated.
Milky tone, propelled by gasps of breathing,
spreads on warm vibration's beat
through our bodies, and the very fabric
of this church reverberates
humour, mystery and melancholy,
graceful curves of gold and silver;
they don't take themselves too seriously –
sharing joy and fun they're eager
to communicate relaxing rhythm
in the instrument's wide range.
Fine display of their professionalism
elegantly fills the stage.
Now they change the scene to voice and piano:
Flanders and Swann, piano and song;
tongue-twisting words, French horn tune so well known –
2-bas now to five instruments grown.
Speed and intricacy of the Bach suite
rivals precision of the strings.
Fnugg – the smallest dust speck, or a snowflake,
rises triumphant with the chords they sing:
didgeridoo, or chanting monks, amaze us,
all in repertoire of these two 2-bas.
Peter Horsfield 28/9/2012 11
(Fnugg is a piece by the Norwegian tuba soloist Oystein Baadsvik, and his
performance of it can be experienced on YouTube)
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Cello
He sits, alone, with his polished instrument, modest, unaccompanied, exposed, nowhere to hide; so brave. Sole focus of communication, he slides effortlessly into sound, resonates the range to fill the space, vibrates air and wood and stone, sings our very bodies with his music: supersonic high notes – incredible harmonics – blend the low and sonorous pitches that famously personify “cello”. And now, Britten's fugue generates experience hitherto unheard: left-hand pizzicato accompanies the bowed melody, two techniques together, with unbelievable skill. Intricately he weaves the disparate lines. On more familiar ground, we hear a suite of Bach, uniquely interpreted: nuances flow seamlessly, mood and colour in great variety, at one with our emotional response. Such brilliance draws us into the Now: all extraneous thoughts evaporate with the healing power of Cello. Peter Horsfield 14/9/2012 10 |
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Link to webpage for James Douglas' cello concert - 13th September 2012
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Maiastra
This quartet now liberates the sound that sings aloft, and outward from the strings; as Pasarea Maiastra – magic bird of Romanian mythology – symbolises flight and frees us from constraining boundaries of matter; so the players, tuned in to the whole, form faithful channels of expression for the composer's intent. (Mozart, Walton, Dvorak, each pose unique requirements and challenge.) Spontaneously their bows dance, begin and end the movement with a flourish; one vast, corporate, synchronised breath integrates the body language with every phrase, dynamics from the merest whisper to a mighty power that fills the church. Fast and slow, rhythmical and melodic, manifested aurally and visually, they express emotions warm and light, or mysterious in their dark solemnity. Above all, these players, played by the Spirit, emanate infectious Joy, light as the magic bird whose name they share. Peter Horsfield 13/9/2012 9 Inspired by the concert given by Maiastra at St Andrew's Church, Cobham, 12th September 2012 
Maiastra is a magic bird in Romanian mythology
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Countertenor (Acrostic)
Contrapuntal melodies are soaring Over us. Baroque fluidity, that Underpins his vocal skill and texture, Nurtures purity of tone, and blossoms Tirelessly throughout a range amazing. Effortless articulation, sacred Rainbow colours, secular and loving, Tempers the organ's accompaniment, Even though the two men, by position, Need to integrate with intuition, Operating blind throughout this concert: Reach the heights of artistry – inspire us. Peter Horsfield 6/9/2012 8 |
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The layout of Leatherhead Parish Church has the restored Thomas Parker organ in the North Transept, with the solo singer in the main body of the church, beneath the pulpit. There were no mirrors; there was no conductor. The performers relied on the closeness of their relationship - although countertenor Timothy Penrose and organist Graham Davies had not performed together for many years.
Link to the concert webpage for Timothy Penrose, counter-tenor and Graham Davies, organ
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Four bassoons in concert drew a large audience to Leatherhead Parish Church, including local poet, Peter Horsfield. The bassoon is a pretty versatile instrument which covers all the notes from the lowest a bass might sing to the top of the mezzo-soprano range. With four bassoons, they tell us, anything is possible. . .
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Music on Thursdays: unusual quartet Bassooniac, Bassoonatic, Bassooniastic skills – their wit and humour play throughout a range of notes astounding, rhythm made with moving melodies combined. Four corners of the British Isles, from England, Scotland, Ireland, Wales, two men, two women, quartet brave and pioneering in their field: they breathe and play as one, conceal their individual traits within dynamic, living organism. Unusual harmonies that blend a resonance unique and send a joyful message from the heart access our deep emotions. Are we hearing sounds that we can share, which take away our every care? Variety of music's feast enthusiastically released has held us spell-bound in this church. Lunch-time recital carries a torch with love expressed to herald this, the song of the Bassoonatics. Peter Horsfield 12/7/2012 7 |
When a musician is booked to play the piano or the organ they can be fairly certain the venue will contain an instrument - although there is no guarantee of its quality! Other players bring their own instrument. That's easy for the piccolo player, it's not too difficult for the trumpeter, the violinist, the clarinet or oboe player. Considering the cello, French horn or tuba player we start to realise how cumbersome some instruments are.
Anyone who knows a percussionist, double-bass player or harpist recognises that they are in a class of their own. Usually the estate-car owning class - or perhaps these days they have a 4x4 or a people-carrier. Peter Horsfield came across one whose solution to carrying a harp was rather more imaginative. She had bought, and converted, an old hearse.
Anyone who knows a percussionist, double-bass player or harpist recognises that they are in a class of their own. Usually the estate-car owning class - or perhaps these days they have a 4x4 or a people-carrier. Peter Horsfield came across one whose solution to carrying a harp was rather more imaginative. She had bought, and converted, an old hearse.
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Life in Death (Harp and Hearse)
I hired a hearse to house my harp When I transported it to play; Reactions reverential drew From passers-by along the way. A vehicle unusual then, So many years ago, to find When choice was limited for size; Its cargo fitted in behind When in the place of coffin sited After stripping out the rear, Made space for instrument so awkward Shaped; now carried without fear. Ethereal tones would emanate From this dark symbol of our death; A paradox of joy and beauty Banished bravely with its breath The sorrow felt by those bereaved, Association funeral, And sombre feelings soon relieved By harp, harmony integral. So when you next can hear a harp That's housed and hidden in a hearse, The strains emerging, life from death, Will be a blessing, not a curse. Peter Horsfield 11/7/2010 6 |
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Ark of Menuhin Hall
It floats on the turbulent waters Of life's vicissitudes, Resembling a Noah's ark, upside-down, With prow-shaped ceiling Which reflects back the resonating melodies From the stage of existence, Harmoniously encircled By the oval wood-lined hall; Serene haven for fine-tuned musicians To share, from the heart, their talents with us. The experience creates within-ness, Mirrors the structure of a musical instrument: The violin bridge, the hollow body. Paradox of inversion, yet reaching out, Like walking on the sky, but grounded in sound. Vibrations are created, sending and returning; They attenuate, but never die, as they melt back Into the eternal Silence. This designed location, inspired by genius, Accesses and preserves the spiritual dimension: Ever-present salvation Amidst uncertainty and change, Venue for healing. Peter Horsfield 29/11/2009 5 
Ark of Menuhin Hall
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Double Bass
Resonating strings uplift my soul, From the deepest notes' encircling bowl Of healing sound, ascending higher. Higher still they rise; beyond the range Of expectation finds a feeling strange; Vibration sets my heart on fire. Paganini of the double bass, Virtuoso plays the notes apace With love and skilful intricacy. Fingers, crab-like, clamber down the strings Towards the bridge; the gliding bow now sings From there ethereal tones unworldly. Pioneer self-taught, a man unique, Spontaneous the joy he spreads; to seek Such wonder: “The note must say I love you”. Barriers of convention soon dissolve; With inspiration limitless involve His audience, the rhythms give you. Communicate he makes priority Above the technical; sonority Of deep emotion spreads to me, Also humour; different styles express Astounding range, the music to address Our sharing with humility. Peter Horsfield 22/11/2009 4 Inspired by François Rabbath, at the Menuhin Hall. |
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Concert Recording
Challenge of recording, in Menuhin Hall, Experience rewarding is shared by all, Resonance astounding, musicians find, Enthusiasm sounding, common purpose bind. Stamina and patience; for many mistakes Necessitate silence around the re-takes. Getting it perfect; a juggle with time, Blending the object, quality prime. Electronic wizardry enhances the effect, Synthesising freely, no details to neglect. Background sounds to edit out, technological skill, Blemishes to do without, the aim to fulfil. From live performance different demands musicians face; More chances, exuberant, the notes correctly place; But both need feeling from the heart; spirit, relaxed, acquired, Team dedication vital part; conductor so inspired. Peter Horsfield 30/11/2008 3 Inspired by session to record Karl Jenkins' “The Armed Man”, by Leatherhead Choral Society. |
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Acoustic Triangle
In the resonant acoustics of Menuhin Hall, Three men in perfect harmony, giving their all; Pianist; double bass; sax, or clarinet, Professional experience, talent so well met. From silky tone, dreamy, melancholy, To vibrant rhythm, crescendo of dynamics, Improvisation, unbelievable skill, So difficult to tell where it mixes with the practised. Such is Jazz, full of humour, full of joy, Exploring the full range of emotional expression, Unusual effects, with more orthodox arrangements, Unexpected twists keep the audience enthralled. Body language: feeling each other's cues, Individual virtuosity, dance-like, blends, Completely relaxed, living in the moment, Together with the audience, enjoying great fun, A sense of timelessness, the end of the piece Of music not apparent; keeps going, then, suddenly, STOPS. Rapturous applause in Menuhin Hall, The three musicians happy, having given their all; Back they come for encore, still they play from the heart, Take their bow in group hug, then from stage depart. The impression lingers on – back again one day, Deep encounter with sound, exhilaration to say. Peter Horsfield 5/10/2008 2 |
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Concert at the Yehudi Menuhin School
Lord Menuhin of Stoke d'Abernon, Poignant grave-stone in green landscape: “He who makes music in this life Makes music in the next.” Spirit of Yehudi continues Onward in music making, New hall, such resonance, Harmonious instruments vibrating, Oval-shaped; floor, walls, and ceiling Entirely clad in pine-wood boarding, Like being within body of 'cello, Acoustically designed plan, so mellow. Dedicated students' rapport, Highest standard, virtuoso, Playing together, eye contact, Soloist feats: technique and memory, Some so young, yet precocious, mature, Sheer joy and love come through. Vivaldi, Grieg, Vaughan Williams, All in concert faithfully portrayed, Channelling the essence of musical ascension, Audience held in rapt attention. Awed silence at the end, then sharing Joint venture, uplifting and caring. Peter Horsfield 7/7/2008 1 |
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Julie West Solicitors pleased to support Leatherhead's lunchtime concerts |
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